This evening — it’s probably already in progress, what with the hours they’re ahead; impossible to keep up — Gothenburg heavy rockers One Inch Giant will kick off their European tour in Copenhagen. The four-piece are out supporting the April 2013 release of their second full-length, The Great White Beyond, on Soulseller Records, and they’ll hit up a swath of European countries over the next nine days, winding up in Hungary after crossing borders back and forth between it, Germany and the Netherlands. Some pretty crazy routing on paper, but I’m sure it makes more sense once you’re actually making those drives. Or maybe not. I was never much for cartography.

One Inch Giant sent along word of the tour and dates for anyone who happens to be in that part of the world:

Greetings fellow rockers! Our European tour is closing in and we’re really stoked about getting out on the road, playing you songs from our new record!

This time we’ll pay Denmark, Netherlands, Belgium, Germany, Hungary and Austria a visit.

…Yeah, I know, 24 is a buttload of records to buy in the span of about a month and a half. To do the division, it would mean buying a new album every 2.04 days. Probably not feasible in terms of time, let alone budget, but hell, it’s a nice thought and seeing the onslaught of new stuff coming between now and the end of April, I thought maybe a list would help keep it all straight. Even if I’m only helping myself, I could probably spend my time in worse ways.

Worth noting that even with 24 albums, presented below in order of release, I feel like there’s stuff I’m forgetting. Frankly, it’s an overwhelming amount of material, so if I’ve missed something or there’s something you’d like to see added to the list, as always, that’s why there’s a comments feature.

Okay. These are numbered just for fun, but listed by date:

1. Orange Goblin, A Eulogy for the Fans (March 12)

My understanding is that London’s foremost doom scoundrels, none other than Orange Goblin, have been selling copies of A Eulogy for the Fans since starting their US tour with Clutch on March 8 in Cincinnati, Ohio, but today is the official release date, and I can think of no better place to start than with the four-piece’s ferocious performance at the 2012 Bloodstock festival, captured audio and video in all its bloodsoaked glory. Not to be missed or taken lightly because it’s a live record. Album review here.

2. Borracho, Mob Gathering 7″ (March 13)

Even though it’s comprised of older tracks, the new Mob Gathering 7″ from Borracho is welcome by me for two reasons: I’ve never heard the songs before and Borracho rocks. The Washington D.C.-based riffers recorded “Mob Gathering” and “Short Ride (When it’s Over)” in 2009 and are set to release the cuts on a limited platter in black and orange swirl through Spain’s Ghost Highway Recordings and Germany’s No Balls Records. They’ve been playing live as a mostly-instrumental outfit while guitarist/vocalist Noah is out of the country on what I can only assume is an awesome spy mission, so if you need a Borracho fix — and it’s obvious from the way your hands are shaking that you do — this might be the way to go. More info here.

3. Inter Arma, Sky Burial (March 15)

Like Windhand below, Inter Arma are recent Relapse Records signees from Richmond, Virginia, and Sky Burial will serve as their first release for the label. Literally and figuratively, the album is expansive, topping 69 minutes and pummeling the whole way through with a genre-transcending concoction of bleakness that’s not so much aligned to any particular heavy aesthetic so much as it is set to its own atmospheric purposes. Through this, Inter Arma emerge terrifyingly cohesive where many others would falter, and their second LP behind 2010’s Sundown (review here) leaves a progressive impression despite an almost complete lack of sonic pretense. Mostly, it’s fucking heavy. Track stream and info here.

4. Clutch, Earth Rocker (March 19)

If 2013 ended tomorrow, Clutch‘s Earth Rocker would be my album of the year. That’s not saying the situation will be the same nine months from now when I actually start putting that list together (already dreading it), but as of March 12, it’s the cat’s pajamas and no foolin’. The long-running Marylanders outdid themselves and put together a surprisingly fast, energetic collection of songs that don’t forsake the bluesy tendencies of their last album, 2009’s Strange Cousins from the West, so much as they put some of the jamming on lockdown in favor of all-out pro-grade heavy rock and roll. The velocity is crucial and the wolfman is out, but it feels like the party’s just starting. Look for them on tour sometime between now and forever. Album review here.

5. Black Mare, Field of the Host (March 20)

Black Math Horseman and Ides of Gemini frontwoman Sera Timms (who’s also recently collaborated with Yawning Man‘s Gary Arce in the new outfit Zun) steps further out on her own with the solo-project Black Mare, from whom Field of the Host is the first album. Due March 20 on LP through The Crossing and on cassette through Breathe Plastic, limited in both cases and sure to be gone shortly after release if they’re not already taken through pre-orders. Fans of Timms‘ past works will be glad to hear the misty wash of melody and dreamy, somehow sad, languid roll of “Blind One,” for starters. Audio and info on the forum.

6. Kvelertak, Meir (March 26)

Short of setting themselves on fire, Norwegian triple-guitar six-piece Kvelertak did just about everything they could to get noticed in support of their 2010 self-titled debut LP (review here), and sure enough, their work paid off in getting signed to Roadrunner Records for all territories outside their native Scandinavia (where Indie Recordings holds sway) and trumpeting up a wave of anticipation for their second full-length, Meir. Their energetic, genre-crossing approach might not be for everybody, but the band have turned a lot of heads and I wouldn’t at all be surprised to find them on bigger tours this year with Roadrunner behind them. More info on the forum.

7. Black Pyramid, Adversarial (April 2)

This is actually the first time the Eli Wood cover art for Black Pyramid‘s Adversarial has been seen in full, so you know. The Hydro-Phonic Records release of the third Black Pyramid album and first to be fronted by guitarist/vocalist Darryl Shepard along with bassist David Gein and drummer Clay Neely punctuates the beginning of a new era for the Massachusetts trio. If the advance listen to closing track “Onyx and Obsidian” is anything to go by, they could very well be at their most potent yet, and though I’d hardly consider myself an impartial observer, as a fan of the band, this is one I’ve been looking forward to for a while now. More to come. Track stream here.

8. Moss, Horrible Night (April 2)

I’ve yet to hear the complete album, but UK trio Moss seem poised to surprise with a cleaner vocal approach on Horrible Night, their first offering since 2008’s impressive Sub Templum LP and two EPs in 2009, so in addition to wondering how they’ll pull it off, the level of the shift remains to be seen. That is, how big a deal is it? Should I call my mom? Is this something grandma needs to know about? Time will tell, but for it having been five years since the last time a Moss record reared its doomly head, it seems only fair to give the band a little breathing room on their evolution. More info and video here.

9. Mars Red Sky, Be My Guide EP (April 8)

How glad am I that French fuzz rockers Mars Red Sky have a new EP coming? Well, I’m not as happy that it’s coming as I am that it’s frickin’ awesome. The trio keep the weighted bass tones that gave so much depth to their 2011 self-titled debut (review here), but they’ve also clearly set to work expanding the formula as well, adding stomp to second track “Seen a Ghost” and an eerie repetitive sense to side B closer “Stranger,” while also broadening their melodic reach and taking claim of whichever side of the line they want between fuzz rock and heavy psychedelia while remaining so much more to the ears than either genre descriptor can offer to the eyes. At half an hour, my only complaint with it is it’s not a full-length album. Video trailer and info here.

10. Blaak Heat Shujaa, The Edge of an Era (April 9)

A sample of the poet Ron Whitehead — who also featured on Blaak Heat Shujaa‘s late-2012 debut EP for Tee Pee Records, The Storm Generation (review here) — comes to clarity just in time for the gonzo Boomer poet to let us all know that, “America is an illusion” (that may be, but it’s an illusion with an army of flying killer robots), and from there, the youngin’ desert transplants embark on a low-end-heavy freakout topped with sweet surf rock guitars and set to use in intricate, sometimes surprisingly jagged, rhythmic dances. Mario Lalli of Fatso Jetson guests, Scott Reeder produced. Review is forthcoming, but till then, there’s more info here.

11. Devil to Pay, Fate is Your Muse (April 9)

Fate is Your Muse serves not only as Indianapolis rockers Devil to Pay‘s Ripple Music debut, but also as the double-guitar foursome’s first outing since 2009’s Heavily Ever After. With tales of lizardmen attacks and the alleged end of the world, it’s got its fair share of personality, and set to the chugging riffs, melodic vocals and straightforward heavy grooves, that personality still goes a long way. I’ll have a review up before this week is out (I hope), but still, I wanted to make sure to include Devil to Pay here too, since their songs command both attention and respect. To wit, I just can’t seem to get “This Train Won’t Stop” out of my head. Video and info here.

12. Cough & Windhand, Reflection of the Negative Split (April 15)

Virginian doomers Cough and Windhand share a hometown in Richmond, a love of volume, a bassist in Parker Chandler and now a label in Relapse Records, so yeah, a split makes sense. Reflection of the Negative will be Windhand‘s first release through Relapse ahead of their sophomore full-length, scheduled for later this year (info here). For Cough, this split marks their first outing since 2010’s An Introduction to the Black Arts split with UK masters The Wounded Kings (review here), and they’ll present the 18-minute “Athame,” while Windhand bring forth “Amaranth” and “Shepherd’s Crook.” More info here.

13. Uncle Acid and the Deadbeats, Mind Control (April 15)

What the last Uncle Acid and the Deadbeats album, 2011’s Blood Lust (semi-review here), did so well was capture the atmosphere and the grainy imagery of late ’60s/early ’70s psychedelic horror and put it into audio form. For that, Blood Lust earned massive praise, but I still think that without the central core of songwriting underneath the genre trappings, it would’ve fallen flat. When it comes to Mind Control, the question waiting to be answered is if the band wants to stick to the blueprint they’ve established or go brazenly into uncharted weirdness. I’m not really sure they can lose, either way. Info and music here.

14. Kadavar, Abra Kadavar (April 16)

Their debut on new label Nuclear Blast and the quick-arriving answer to my pick for 2012 debut of the year, Abra Kadavar arrives with plenty of anticipation leading the way. The retro-rocking German trio have their work cut out for them in following that self-titled, but however it turns out in the comparison, it will be fascinating to learn how Kadavar develops the band’s sound and whether or not they prove able to push the boundaries of their aesthetic while simultaneously setting a new standard for promo photos. New video here.

15. Spiritual Beggars, Earth Blues (April 16)

I guess when it comes to these long-running Swedes, everybody’s got their favorite lineup, their favorite tunes, etc., but for me, I’m just impressed that Michael Amott — now more than 20 years on from starting Spiritual Beggars as a side-project while still in grindcore pioneers Carcass — still has any interest in keeping the classic rock Hammond-loving outfit grooving. Their last outing, 2010’s Return to Zero (review here), was the first to feature vocalist Apollo Papathanasio, formerly of Firewind, and though those songs were solid, I wouldn’t be surprised if they’re more settled in on Earth Blues when it drops via InsideOut Music on April 16. More info on the forum.

16. Beastwars, Blood Becomes Fire (April 19)

Alternating between periods of brooding intensity and all-out crushing heaviness, the second full-length from New Zealand’s Beastwars, Blood Becomes Fire, is nasty, nasty, nasty. It’s nasty when it’s quiet and it’s nasty when it’s loud. It’s the kind of record you put on and you’re like, “Damn that’s nasty.” And you’re not wrong. The four-piece — touring shortly with Unida — upped their game even from 2011’s self-titled debut (review here), and for anyone who heard that record, you know that’s saying something. I’m still in the “getting to know it” phase, but so far all that nasty feels pretty right on. More info here.

17. Ghost, Infestissumam (April 19)

Man, this one just kind of happened, huh? I suck — and I mean S-U-C-K suck — at keeping up with band hype. I’m the dude who hears the record three months later and goes, “Yeah, I guess that’s cool,” as countless reviews here can attest, including the one for Ghost‘s 2010 debut, Opus Eponymous, but with the Swedish cult heavyweights, all of a sudden I turned around and blamo, major label deal, semi-name change to Ghost B.C., and enough slathering over the impending Infestissumam to make the first album seem like less than the hyperbole it was treated to initially. Funny how that happens. Out in April? I’m sure I’ll review in June and go, “Yeah, I guess that’s cool.” More info on the forum.

18. One Inch Giant, The Great White Beyond (April 19)

Now signed to Soulseller Records, Swedish heavy rockers One Inch Giant will unveil their debut full-length on April 19 and as three of my favorite words in the English language are “Swedish heavy rockers,” I’m excited to find out how this Gothenburg four-piece follow-up their Malva EP, and if they can capture some of the extreme dynamic they brought to their live show when they toured the US last summer — a run of shows that included a stop at SHoD. Hard not to pull for a band after they come over to play club dates. More info and music here.

19. The Heavy Co., Midwest Electric (April 20)

It was actually the other day writing about The Heavy Co.‘s Midwest Electric that I had the idea for this feature, so however high the profile might be for some of these albums — Ghost walks by on their way to cash a check — it was these unpretentious Hoosier rockers and their new outing, Midwest Electric, that started me off. From what I’ve heard so far, the new collection sounds a little more confident in exploring psychedelia than did the trio’s 2011 debut EP, The Heavy (Please Tune In…) (review here), so I’m looking forward to hearing if and how that plays out over the course of the whole thing. Video trailer here.

20. Gozu, The Fury of a Patient Man (April 23)

I have an interview slated for later this week with Gozu guitarist/vocalist Marc Gaffney, and I’m even more excited for this time than I was when we last spoke, around their 2009 Small Stone debut, Locust Season (review here), since in everything but its goofball song titles, the sophomore outing marks a huge developmental step in the band’s melodic reach and songwriting chemistry. Stay tuned for that interview and check out the Bandcamp stream included with the album review here.

21. Yawning Man & Fatso Jetson, European Tour Split 7″ (April 26)

Note: I don’t actually know that April 26 is the day that what’s sure to be 2013’s most desert-rocking split is due to arrive, I just know that it’s Fatso Jetson and Yawning Man‘s European tour split, and that’s the day the Euro dates start — with performances at Desertfests London and Berlin, to be more specific. Given both the greatness of Fatso Jetson‘s last record, 2010’s Archaic Volumes (review here), and of Yawning Man‘s own 2010 outing, Nomadic Pursuits (review here), the bands’ shared lineage and the relative infrequency of their touring, it doesn’t seem unreasonable to hope that, even for a single, they pull out all the stops. And starts. And riffs. More info on the forum.

22. Serpent Throne, Brother Lucifer (April 29)

Philly-based instrumental heavy rockers Serpent Throne will follow-up 2010’s White Summer/Black Winter (review here) with Brother Lucifer, and while no one can ever really know what to expect, it’s a safe bet that the dual-guitar outfit will have the solos front and center once again. Having seen them do a couple new songs back in December, I can’t blame them in the slightest. Looking forward to letting these songs sink in for a while and having those solos stuck in my head. Track stream here.

23. Melvins, Everybody Loves Sausages (April 30)

Hey wow, a Melvins covers album. Finally, an opportunity for the band to let their hair down and go wild a bit, right? I mean, at long last, they can really feel free to indulge a little and explore their musical roots in a free and creative way. Okay, you get the point. In all seriousness, it’s a pretty cool idea and anything that teams the Melvins with Scott Kelly to do a Venom song is probably going to be a worthy cause. The most amazing part of it is they haven’t already done a version of “Black Betty.” More info on the forum.

24. Revelation, Inner Harbor (April 30)

Their most progressive outing yet and their first album since 2009, Revelation‘s Inner Harbor (review here) is bound to surprise some who thought they knew what to expect from the Maryland doom stalwarts who double as the classically rocking Against Nature. Good thing Inner Harbor had a digital release last year through the band’s Bland Hand Records to act as a precursor to this Shadow Kingdom CD issue. Rumor has it vinyl’s on the way as well, so keep an eye out, since John Brenner‘s guitar tone should be heard on as natural-sounding an apparatus as possible. More info here.

–

Okay, so you’re saying to yourself, “Golly, that’s a lot of stuff.” You’re absolutely right. But even as I was typing up this feature, I got word of a new Queen Elephantine full-length coming in April, so even as much as this is, it’s not everything. And that’s not even to mention May, which will bring a new Shroud Eater EP, a new Kylesa record and a new Mark Lanegan collaboration, among however much else. Tons of stuff to keep your ears out for, and like I said way back at the top of this thing, if you have something to add, a comment’s always appreciated.

Renewing their penchant for strong, accessible hooks and heavy rocking grooves, Swedish single-guitar four-piece One Inch Giant will release their Soulseller Records debut full-length, titled The Great White Beyond, on April 19 in Europe. The long-player follows the band’s 2011 MalvaEP (short review here), which established a fuzz rock charm offset by touches of a more metallic influence.

Should be interesting to hear how that balance might develop over the course of The Great White Beyond, and since the EP was enough to bring One Inch Giant over to the States for a run of shows (reviews here and here), I’m excited to see how the band works to get their name out for their first record. They’ve just released the first track from the album in the form of the catchy “Mountains Will Erode,” and seem to be gearing up for good things to come.

Here’s the song and a blurb grabbed from the label confirming the release date for the album:

Here’s a new track from One Inch Giant’s upcoming album “the Great White Beyond”, prepare for a riff-driven progressive metal journey! Now listen to “Mountains Will Erode,” out on April 19th across Europe!

Tracklist: 1. The Sea Opened Up 2. Mountains Will Erode 3. Malva 4. Jiraya 5. Only Scorn Remains 6. Tell Meteor From Star 7. The Years of Mist 8. Awaiting the Wave 9. My Unshaped Form 10. A Fear Aflame 11. The Great White Beyond

It’s a gorgeous Saturday morning in East Lyme, Connecticut. Why wouldn’t there be traffic on I-95? Seven hundred gajillion TARP funbucks later, I sat in a miles long line of cars weaving into and out of two exceedingly busy lanes. Much to the chagrin of the dude from Massachusetts next to me with a boat towed off the back of his pickup, I was barely paying attention to my drifting. Some of the sternest looks I’ve had in at least a week.

I managed to sneak in a quick to-go breakfast with The Patient Mrs., who is in the area, and then basically came right here. It’s about 10 to noon now, and I don’t know what time Akris is going to start — they’re setting up now — but when they do, it’ll be the launch of day three of Stoner Hands of Doom XII and the first of two massive all-day shows here at the El ‘n’ Gee in New London.

No doubt it’s going to be a long day, but hell, I’m here. I’ve got a deli sandwich in a cooler in the trunk of my car for later, and enough earplugs to last a month. My plan is basically to do the same as I did yesterday — but, you know, twice as much of it — with updates as the day goes on. Hopefully you enjoy keeping up as much as I do.

SHoD XII day three begins in just a bit. More to come.

Akris

UPDATE 12:46PM: Hope you like bass. Akris, the Virginian duo of bassist/vocalist Helena Goldberg and drummer Sam Lohman, fluidly blend thrash, doom and noise, but are also able to dive quickly into runs of progressive technicality. Goldberg played through three heads — Sunn Concert Master and Slave and an Earth Super Bass Producer — and should go without saying was assaultingly, feel-it-in-your-chest loud, and Lohman had his own kit set up toward the front of the stage and off to the site, turned sideways. If I wasn’t awake yet, Akris were loud enough to get the job done, but as overwhelming as it was in terms of volume, the tone wasn’t muddy. The vocals cut through the low end (duh) and I’m not sure whether Lohman‘s drums were actually coming through the P.A. or not — they were mic’ed up, but he looked to be crashing down hard enough to be heard down the street, so who knows — but there was no trouble hearing him either, and even when Goldberg was at her loudest and most raging, everything came through distinct. Their demo was cool and hopefully it’s not too long before they follow it up with either a full-length or an EP. I’d be interested to hear how the dynamic between them came across over the course of a whole album. In the meantime, they were a shot of energy to start the day. Much needed and much appreciated.

Eerie

UPDATE 1:44PM: From the wilderness of New Hampshire, double-guitar doomly foursome Eerie were quick to align themselves with the extreme. In look and attitude, I half expected the band to bust out throat-ripping screams and searing blasts. Didn’t happen, but they weren’t lacking for grimness besides. Instead, they doomed out a wall of riffs and varied abrasive and clean vocals, relying on steady undulating riffs, not unfamiliar, but hard to place directly somewhere between Cathedral and the semi-psych tonality of earliest Zoroaster. One of the guitarists broke a string early into the set, but if it really affected the sound, I wouldn’t know it. The two guitars played well off each other, and if the broken string did anything, it was force him into a higher register and into starker contrast with his fellow six-stringer. They have a record that I’ll hope to pick up and check out further, but it’s high time New Hampshire’s untamed forests spawned a unit as dark as Eerie — who might need to take a different name for how well it actually describes them. They seemed to have common cause with Statis, who are on next, but what the alliance might be, I don’t know. Either way, if Akris were the stoner hands, Eerie were the doom. Doom like “we only use our first initials” kind of doom.

Stasis

UPDATE 2:27PM: Well, mystery solved. Stasis‘ drummer — listed on their Thee Facebooks as the mysterious “TBA” — was the same dude who played guitar and handled vocals in Eerie. See? I know it’s precisely that kind of investigative reporting that keeps you coming back to The Obelisk. Anyway, a trio from Portland, Maine — where Revelation and Ogre will doom this very evening — they were more on the sludge end than Eerie before them, but while guitarist/vocalist Michael Leonard Maiewski wasn’t including the same kinds of Euro-doom derived ambient parts, there was still a decent cut of drama in what they were doing. Bassist Mindy Kern had a Warlock or some such bass — many interestingly shaped instruments this weekend — and I don’t know to say for sure, but I think the sound guy working the board here at the El ‘n’ Gee is about ready to hang it up and go get a real estate license. It’s a universal fallback plan. So far, the three bands that have played have been so loud that by the time Stasis were halfway through, he’d left, perhaps in pursuit of lunch, I don’t know for sure. Would require some more of that investigating. I’ll get with the budget office and see if we can swing it. Stasis threw down a little mud, but the wash of low end was obviously intended. Wouldn’t be sludge if it wasn’t dirty.

Curse the Son

UPDATE 3:20PM: Beardbanging all the while, guitarist/vocalist Ron Vanacore led Hamden, CT, trio Curse the Son down a long trail of smoke to the riff-filled land. Playing through a righteous custom Dunwich amp — they make ‘em pretty — Vanacore’s riffly plod was second to none I’ve heard so far over the course of this year’s SHoD, and with the rhythm section of bassist Cheech and drummer Mike Petrucci stomping away, the band gave a strong herald for their upcoming Psych-achefull-length. Most of what they played seemed new, but I did recognize a tune or two from the prior Klonopain(review here) long-player, but really, old material or new, it’s all about the riffs, and Curse the Son has that down. I’d like to see Vanacore (who’s fighting a sinus infection but didn’t let on on stage) in a beard-off with Ben McGuire from Black Cowgirl, who play later, but in the meantime, Kin of Ettins is on next, having come all the way from Texas for the show. Curse the Son gave them a good lead-in and the crowd seems to be right on board. There’s been a lot to dig about today so far, though it’s hard to believe we’re only four bands into the day.

Kin of Ettins

UPDATE 4:22PM: In a dark venue such as this, it’s kind of easy to lose track of time. Whenever someone opens a door to outside and the sunlight comes in, I’m surprised. It’s still daylight out. It’s four in the friggin’ afternoon. Obviously no one told doomly Dallas four-piece Kin of Ettins that. They rocked like it was well after 11PM, proffering a doom that wouldn’t have been at all out of place on Hellhound Records in the mid-’90s and delivering it with just a hint of Texan swagger and inflection. Bechapeaued guitarist/vocalist Jotun (above) made mention in thanking Rob Levey for putting this together that he and bassist Donar were at the first SHoD in 2001 in Dallas. Must be quite a trip 11 years later to play it in New England, but they did well, and with one hand, guitarist Teiwaz ripped into impressive leads, overcoming some early technical difficulties and making a song like “Snake Den Time,” the title-track of a reportedly coming full-length, a standout. They saved the best for last, however, with the cut “Echoes in the Deep,” which also ended the set on their Doomed in Dallas live EP (review here). Awesome to have them represent the fertile Texas scene at Stoner Hands of Doom, and I’m glad I got to see it.

Black Cowgirl

UPDATE 5:13PM: It’s only been about a month since I saw Black Cowgirl in Philly with The Company Band, so they were pretty fresh in my consciousness, as much as anything is at this point. In that time, however, their self-titled full-length (comprised of two prior EPs put together) has seen its CD release, so they haven’t exactly been sitting still. They were much as they were at the Underground Arts, maybe drummer Mark Hanna was a little less inclined to stand up behind his kit, but beyond that, the two guitars of Ben McGuire and Nate Rosenzweig still worked well together and bassist Chris Casse held down the grooves ably without being overly showy. Someone put themselves in the spot in the bar area where I had been setting up the laptop, so I moved outside, and it’s apparently a pretty fantastic day out. Not quite enough to make me regret spending the whole thing inside the dark club, but still. The thing that stands out most about Black Cowgirl‘s set is the dynamics within the band’s approach. The performances were spot on, but even more than that, their songwriting is strong and varied and their ability to convey that in a live setting like this makes them that much stronger a band.

Beelzefuzz

UPDATE: 6:12PM: Wonderfully monikered Maryland classic doom trio Beelzefuzz just wrapped their set with a cover of Lucifer’s Friend‘s “Ride in the Sky.” A pretty bold choice, given that Trouble did the same tune and The Skull is playing later tonight, but I’ll be damned if they didn’t pull it off, guitarist/vocalist Dana using his pedal board as much for his vocals as for his guitar. And I do mean “vocals,” plural. At several points in the set, he was doing live double-tracking, clicking on to add another of his voice and then clicking off. He got jumbled up doing it, but it was impressive nonetheless, as was his voice in general. Though I dug their demo, I’d only ever seen Beelzefuzz for two songs at Days of the Doomed II back in June, so a full set was welcome. Following the energy of Black Cowgirl, they were a calmer stage presence, but tight performance-wise, and usually if it’s going to be one or the other, I’ll take that. Dana‘s guitar magically became a Hammond organ at several intervals and that was awesome as well. The Maryland contingent — a big part of SHoD for the last couple years — will have further representation from Admiral Browning in a few hours, but Beelzefuzz were a welcome dash of Krug’s Place in the meantime, making me a little wistful for Frederick. New London’s been alright in the meantime, though.

One Inch Giant

UPDATE 7:14PM: This was the last stop on Swedish rockers One Inch Giant‘s US tour. I saw the first one earlier this week in Brooklyn. Pretty awesome of an underground band, relatively unknown, to get over here and do a week of shows like that. Unlike in Brooklyn, I watched their whole set this time around, though it seems I’d seen more of it than I thought last time. They sent out a building jam to the ladies, hit the blastbeats again — frontman Filip Åstrand warning the crowd beforehand by saying, “I know you like them slow, but this one’s fast” — and gave a solid, energetic showing of their straightforward European-style heavy rock. I couldn’t help but wonder if Åstrand washed his Morbid Angel shirt between the two shows, but as I couldn’t smell him while was taking pictures, I figure probably there was laundry done at some point during the week. Their stuff was straight ahead catchy, and I think maybe some of the ideas got lost in translation between the Euro and US markets, but for both the fact that they’re here and for what they actually did while they were on stage, it was more than respectable.

Orodruin

UPDATE 8:11PM: As good as some of the doom I’ve seen over the last couple days has been, I don’t know if anything tops Rochester, New York’s Orodruin. They haven’t put out an album since 2003’s Epicurean Mass, but here as at Days of the Doomed, they came on and promptly blew the crowd away. John Gallo doesn’t so much play riffs as he conjures them, summoning them from his guitar in some kind of doomly ceremonial rite. The band played as a four-piece tonight, with second guitarist (and if I’m wrong on the name, please correct me) Nick Tydelski joining the melee alongside bassist/vocalist Mike Puleo and drummer Mike Waske. As a four-piece, they were no less potent than as a trio, and they had what I think was the biggest crowd of the fest so far. I didn’t count heads or anything, but all the people I’ve seen milling about the El ‘n’ Gee today finally seemed to all be in the same place at the same time. Good reason, as Orodruin are hands down one of the best traditional doom acts I’ve ever encountered live, breathing new life into what in most hands is a genre based in no small part on retread. Not knocking that, just saying that these guys have something special. Their In Doomdemo/EP is here and on sale. I bought one in Wisconsin, but I’m almost tempted to pick up another, just to have it. Fucking a.

Admiral Browning

UPDATE: 9:10PM: Anything strike you as a little strange about the picture above of Ron “Fez” McGinnis of Maryland progressive noisemakers Admiral Browning. He’s singing! When their set first started, I said to myself, “Now why the hell would they leave a microphone on stage?” thinking maybe it was just so guitarist Matt LeGrow could say thanks or something, but then Fez had one too, and sure enough, vocals. Not just vocals though, harmonies too. Either these dudes just discovered they could do that stuff or they’ve been holding out. I’d always kind of thought of Admiral Browning‘s tech-minded approach as being too complicated as to allow for structuring into verses, but it worked and it worked well. They still had plenty of instrumental material on offer, but they’ve put themselves into a different echelon entirely by adding singing, all the more so for actually being able to pull it off. And of course, as LeGrow and McGinnis were belting out the songs, drummer Tim Otis was running a marathon across his kit behind them. Legitimately, I’d be surprised if he covered any less than 26.2 miles. They paid homage to Buddy Rich with “Traps” and, after a story of how they ran into Geraldo Rivera in Coney Island earlier today, shouted out “La Araña Lobo” in his mustachioed honor. My plan had been to run out to the car and grab my long-awaited turkey sandwich from the cooler in my trunk, but Admiral Browning kept me right in here. That might not sound like high praise, but there isn’t much that beats “turkey sandwich” in my book. Kudos, gentlemen.

Earthen Grave

UPDATE 10:10PM: Chicago’s Earthen Grave went sans violin for their set. I seem to recall Rachel Barton Pine, who usually handles that instrument, being either pregnant or recently a mother, and either way, I’d expect that to account for her absence from SHoD. It’s a valid enough excuse. The show went on, as I’m told the show must, and Earthen Grave delivered a crunchier-seeming set of traditional doom and metal. Vocalist Mark Weiner has hit himself in the head on purpose both times I’ve seen the band — here and at Days of the Doomed II — and so I guess he’s just that crazy. He had on a Church of Misery shirt and was happy to show it off along with his formidable pipes, but bassist Ron Holzner has “used to be in Trouble” on his side, and that’s always an attention-getter. The band was pretty crisp, even for lacking their violin, and the assembled heads dug in wholeheartedly as they kicked into a new song, the title of which I didn’t get. Good to know they have new stuff in the works though. I did run out and grab that turkey sandwich, eating half as I sat on the lip of the open trunk of my car — a doomer tailgate party of one — but when I came back, Earthen Grave made me think perhaps I should revisit their self-titled full-length, and covered Pentagram‘s “Relentless,” which is a bit of a coincidence, since that band is about to go on stage in Brooklyn playing that album in its entirety. Go figure.

Devil to Pay

UPDATE 11:12PM: No coincidence that Devil to Pay guitarist/vocalist Steve Janiak was representing the Ripple Music logo, as it was recently announced the Indianapolis four-piece had signed to that label for the release of their new album. Janiak said on stage that the record is due out in January — it’ll be their first since 2009’s Heavily Ever After– and they played a few songs from it, including the gloomy highlight “Yes, Master.” Devil to Pay are always pretty humble on stage, but they’re pretty clearly riding a high. They seemed confident and assured in their sound, guitarist Rob Hough breaking out the weekend’s first and only (to date) windmill headbang, and Janiak‘s tenure in the doomier Apostle of Solitude has brought a new dynamic to his vocals, which had a kind of post-Alice in Chains grunge feel. I had been looking forward to the new album already, but it’s good to have some affirmation for the anticipation. The night is starting to wind down, and with Pale Divine and The Skull still to go, things are about to get awfully doomed around here, but Devil to Pay‘s heavy rock was a great balance between the stoner and the doom, and Janiak is beginning to emerge as a genuine frontman presence. Cool to watch.

Pale Divine

UPDATE 12:14AM: The funny thing about watching Pale Divine‘s set tonight was that for most of the contingent up front to see the band, they were local, like well-known, like married-to-them local. For me, seeing Pale Divine, who hail from Pennsylvania, is something exotic, something that doesn’t happen every day. It had me thinking about the bands that I feel that way about — Jersey acts like The Atomic Bitchwax or even a Long Island band like Negative Reaction — who I take for granted. My moment’s pondering didn’t last much longer than that, however, because I was astonished to see Fezzy from Admiral Browning was playing bass alongside guitarist/vocalist and band founder Greg Diener and drummer Darin McCloskey, who also played with Beelzefuzz tonight. Fez was a little punchy on the bass, but that dude’s the kind of player that could pretty much fit in anywhere so long as it’s heavy, and it was cool to see him in a more traditionally riffy context, playing off Diener‘s Wino-inspired riffs. A highlight was “Amplified,” the opening track of their first album, Thunder Perfect Mind, and when the whole thing was done, I won the Stoner Hands of Doom raffle! More on that later, as The Skull is about to go on.

The Skull

UPDATE 1:40AM: You know what the difference is between The Skull and your Trouble cover band? First of all, you don’t have a Trouble cover band, but even if you did, chances are it wouldn’t have Ron Holzner playing bass in it or Eric Wagner singing, and as someone who saw Trouble proper on their tour with Kory Clarke fronting them, I can say first hand that that makes a big fucking difference. Seems frivolous to say “Psalm 9″ and “Bastards Will Pay” were high points — the whole set was a high point. Together with guitarists and a drummer culled from Chicago metallers Sacred Dawn, Wagner and Holzner ran through a set of classics that seemed utterly antithetical to the late hour. They killed, and the people that stuck around ate it up. Nobody even spoke in between songs. Everyone just stood there and waited to see what was coming next? How about “Revelation (Life and Death)?” Well, yeah, okay, right on. I guess the big difference between tonight and when I saw The Skull at Days of the Doomed is I’m not miserable piss drunk tonight, so I’ve got that working for me. When their set was finished, Wagner said he’d keep going if someone bought him a beer, so beer was acquired and they wound up closing with “At the End of My Daze,” which was incredible of course. The bar called a “get the fuck out” last call after they were actually done, so I’m writing this in the car in the parking lot outside, about to drive back to where I’ll crash out and get up tomorrow for the final day of Stoner Hands of Doom. Tonight was unreal.

Monday night, huh? I’ve passed up some pretty great shows in my time, simply because they happened on a Monday. More often than not, Monday nights find me tired and feeling beat to shit, retreating back to my humble river valley to nurse my wounds and sacrifice some manner of livestock in the name of a mildly productive Tuesday. However, I wasn’t going to miss Eggnogg at the Saint Vitus bar in Brooklyn, playing with One InchGiant, Nevereven and Eyes of the Sun,and even though I felt a little guilty going to a show on a Monday that wasn’t a Precious Metal gig, I nonetheless took the by-now quite familiar route across Manhattan and through the Queens-Midtown Tunnel to get across the Pulaski Bridge into Brooklyn. I can do it on auto-pilot at this point.

You know how sometimes you go to a show to see one band and everything that isn’t that band’s set seems to just kind of be in the way? Well, I’ve no doubt that on any other night I’d probably have been way more into show openers Eyes of the Sun and Nevereven, but I was pretty locked into what I was looking for. Nonetheless, Eyes of the Sun‘s abrasive post-metal was well-met by the dual flat-screens they set up on either side of the stage, showing edited-together clips of the earth from space with scenes of sundry atrocities — factory farming, genocide, pollution, slavery — spliced between. Came on a little thick, maybe, but I can’t argue the principle. People are awful.

Also Brooklyn natives, Nevereven were catchy and straightforward hard rock, the sort that would’ve had a shot 15 or 20 years ago at commercial viability when such a thing was still possible. Some progressive elements at work in the guitar, and plenty tight, but landed kind of flat despite the best efforts of frontman Gary Pickard. Both bands drew a solid crowd and garnered a solid response, again, it just wasn’t where my head was at.

My head was primed for catching Eggnogg for the first time. Their Louis EP (review here) was still pretty fresh in my head, and I was surprised to find Bill O’Sullivan on bass and Justin Karol on guitar — I’d thought it was the other way around, and re-reading their current bio, it lists both players as guitarists, so maybe they switch off — though it worked pretty well, Karol playing through a Marshall half-stack and O’Sullivan running an Acoustic combo amp through the Saint Vitus bar P.A. while drummer Jason Prushko, who was the most stoned-looking dude in the room if he wasn’t actually high, slammed away behind, filling in for Ryan Quinn.

Having summarily dug the hell out of both the 2012 EP and the 2011 Moments in Vacuumfull-length (review here) before it, I was stoked for the set. Really stoked, actually. I know I hear new music a lot, but it’s not often I encounter a band who seems to have so much potential, and even more, not often I get to see a band like that while they’re still getting their bearings. That’s exciting to me. Eggnogg are young, and in their formative stages, but the heavy psychedelic funk that’s made its way into their sound over the course of their last couple releases — hardly there on their 2009 self-titled but already an essential facet by Louis– and their penchant for grunge melodicism makes for a fascinating combo, and seeing that live for the first time was something I’d been looking forward to since I saw they were starting to play out again while continuing to work on their next record.

They played four songs. Two from each full-length. From Moments in Vacuum, there was the opener, “Magog” and the lurchingly infectious “Wheel of the Year,” and from the self-titled, the heady jam “Northern Lights” and set closer “The Gods Will (Destroy the Hive).” I’d streamed the self-titled through Palaver Records‘ site, but no question the material from the second album was more familiar. The stomp in both of those songs was right on, Prushko‘s drumming more at the forefront in a live setting than Quinn‘s on the recordings (nature of the beast, not a statement on Quinn‘s playing), and Karol‘s guitar having the same kind of start-stop immediacy, made all the more intricate by upstroke picking and quick mutes.

The room wasn’t full by any stretch, but the people who were there were into the set, myself included. I noted that the members of One Inch Giant, in town from their native Gothenburg, Sweden, ahead of a performance this weekend at Stoner Hands of Doom XII in Connecticut, were right up front for most of the time, and rightfully so. Eggnogg‘s sound was no less organic on stage than it has been on their recorded output to date, and O’Sullivan‘s vocals showcased a rare ability to make a stoner rock gruffness not sound like a burly put-on. His croon and throaty shouts were both effective, and as Karol let loose a burgeoning stoner rock softshoe during the extended solo of “Northern Lights” — it was a kind of Naam-esque two-step/waltz at this point, still very cool — everything seemed to be coming into place.

And that was what I was there for: A band in progress. Their grip on their aesthetic was firm and, by the end of the set, commanding, and but for the want of some louder gear — I shudder to think of “Wheel of the Year” coming through full stacks — they seemed ready to hit the road. I mean that. There’s a certain point where a band has laid the groundwork and established what they want to do, and Eggnogg seemed to be right there, so what’s left is refining and reinventing that process through songwriting and touring. They can only get stronger for the experience, whatever else it might bring them, and their relative youth is an asset working in their favor. When they finished, I was even more stoked on their possibilities than I was when they started.

I bought a copy of the self-titled from Karol, and waited for One Inch Giant to round out the night, which they did in pristine Euro heavy rock fashion. It didn’t occur to me until I spent a while staring at the cover of their MalvaEP that I’d heard them before, but they did alright by Sweden, putting on a rock show full of movement for a crowd that was by then sparse at best. Bassist Axel Berglund wore a Suffocation shirt, vocalist Filip Åstrand had Morbid Angel, and guitarist Gabriel “Abbe” Lugo Méndez held and played his instrument like someone well schooled in extreme metal, so I wondered what the band’s roots were in that regard. They broke out some blastbeats in one of their songs and I felt somewhat vindicated at having noticed.

I’ll confess I didn’t stay for their full set. The knowledge that I’d see them again this weekend at SHoD made doing so seem somewhat less urgent, excited though they clearly were to be playing the string of shows they were just beginning. Of the trip out of the city, I’ll say I usually won’t listen to music after a show, finding it — like eating a bag of potato chips after dinner — to be bad for the digestion, but I was still riding high enough on Eggnogg‘s set that I put on the self-titled and let its doomly pulsations guide me through Rt. 3 traffic and home to The Patient Mrs., still awake and still working upon my arrival shortly after midnight. Forgetting to take out the garbage, I went to bed with the distorted strains of “The Gods Will (Destroy the Hive)” still in my head.

Things are traditionally quiet in the music industry in the week between Xmas and New Year’s, so I’ve had more downtime than usual at work. I’ve taken the opportunity to catch up on some organization I let slide while the semester was finishing up, and in the process, discovered a bevvy of emails that had come in from the contact form that went to my spam folder.

The issue with the contact form has been corrected — so it shouldn’t be a problem going forward — but basically that means that people who had reached out to me from bands and other related concerns weren’t getting answers, and for that, I’m sorry. There’s stuff in there I feel like I’ve missed the boat on at this point. I’ve made commitments of my time elsewhere, and besides, I’d feel like a douche to go chasing all of them down, like, “Uh, hey man, yeah, send me your CD,” two months after the fact. What a jerk.

On the other hand, I feel bad for not getting back to them at all, so I thought what I’d do is hit up the Bandcamp links that were sent to me, and host the material here in this post, all in one shot, so that anyone interested can get a sense of what the bands are about and investigate further if so inclined. Made sense at 2AM last night when I thought of it, anyhow, so we’ll see how it works out.

We start in the UK:

What’s included in the player is just a six-minute sampler of British five-piece Dead Existence‘s two-song EP, Born into the Planet’s Scars. If the name sounds familiar, Dead Existence released a split with Dopefight in 2009, but even more than that, I feel bad for missing out on this one because it’s so fucking brutal. Even listening to the six minutes here, I feel like I’ve gotten by ass kicked. Dead Existence take the metal side of sludge and push it to deathly extremes, and with just two extended tracks, “Down the Crooked Path” (11.57) and “Gutless and Full of Shame” (14.33), I’d have been interested to hear how they filled that time. What they have here almost borders on hardcore in terms of the vocals and some of the chugging riffs, but it still has enough groove to cross over in terms of appeal. Heavy is heavy, and hopefully when their next platter arrives, I suck less at life and don’t miss it. They’re on Thee Facebooks here and Bandcamp here.

The threat is right there in the title, and while the three-song 2011 demo from UK blackened doomers Drear, dubbed We Will Use Your Blood for Fertilizer, is malevolent, even more than that, it’s oppressive atmospherically. These three songs were reportedly recorded in 2009, but the bitterness and smell of rotting flesh is still fresh on them. “Finally” offsets telltale stomp with progressive complexity and back-loaded forest screams, and “Madness and Civilization” incorporates both things — samples and disturbing drones culminate in what sounds like an emergency call, making way for the ultra-slow drone of “Capturecultivateconsume.” The real surprise (sorry to spoil it) comes at 2:58 into the closer, when the melee drops out and beautiful ambient guitar cycles in to make way for the finale. Impressive and unsettling in equal proportion. Check out their website here and Bandcamp here.

“Sun Doesn’t Rise,” the opening track of Low Sonic Drift‘s 2009 EP, Shadows of the Titan, has one of those “fuck yeah” riffs. Press play above and see if you don’t agree. The Scottish trio shares guitarist/vocalist Omar Aborida with psych purveyors The Cosmic Dead, and though Low Sonic Drift is less exploratory in a jam sense, the tracks vary widely, from the angular prog of “Hyperion” to the Indian-derived “Tamrine Namayesh.” “Shadows” effectively blends most of these elements and highlights some thrash besides, and more than anything else, I’m left wondering what Low Sonic Drift — Aborida plus bassist Paul Wilson and drummer Javaud Habibi — have been doing these last two years. Hopefully it’s not too long before another installment makes its way to the public, and when it does, I’m going to try my damnedest not to miss out. They’re on Bandcamp here and Blogspot here.

Released just at the beginning of December with a solid blue cover in a limited vinyl edition of 250 by Deep Distance Records, Kösmonaut I is the product of a one-man instrumental psychedelic electronica project from Texas-based Patrick R. Pärk. I’m not sure if Kösmonaut really fits with what this site covers, but then again, fuck it, it’s at least interesting. These five pieces were previously available on a limited CDR called Voyage of Time, and Pärk seems to be rather prolific, since by either name you want to take it, it’s one of four records he’s put out this year. I guess it’s pretty easy for material to pile up when there’s no one else to argue with and you’re running loops the whole time. I dig the spacey ambient stretches more than the “active” material, and I expect the appeal overall would be pretty limited, but maybe it’s just weird enough to make a few friends around these parts. On Bandcamp here and Blogspot here.

I make no secret of the fact that I’m a nerd for Swedish heaviness, so it’s with a sad heart that I listen to Malva, the self-released debut from Gothenburg‘s One Inch Giant. Recorded completely live, it promises almost immediately that “Rock and roll can make us ripe and bold,” and listening to the five tracks that follow, I believe it. “Fur of the Lord” is drenched in fuzzy mammoth charm (befitting Malva‘s album art), and the Fu Manchu-ism of “Feed the Fire” is put to the test by the slower grooving riff of “Echoes in the Night.” God damn it. This is really good. The vocals are a little high in the mix, but who knows how that translates from a stream to the physical disc or actual download? One Inch Giant are unsigned as yet, but the poise with which they make their way through the seven minutes of “Treasures that Betray” hints that perhaps that’s a temporary condition. Either way, Malva rocks. Check the band out on Thee Facebooks here and Bandcamp here.

Well, that’s it. There were others, but I think we’ll leave it there for now. Again, I’m sorry to the people involved in these bands who reached out to me that I wasn’t able to get back in a reasonable amount of time, and I hope that this coverage — however miniscule it might be as compared to a full review around here (the difference, I suppose, being that someone might actually read these blurbs the whole way though) — makes up in some small way for my dickheadedness. Thanks for reading.